BARBARA McEWEN

Études littéraires last published an issue devoted entirely to theatre in December 1980. It was entitled 'Théâtre et théâtralité', and its subtitle 'Essais d'études sémiotiques' gave the orientation of the articles included. The Winter 1985 issue, with a totally different perspective, examines the many facets of theatrical activity in Québec over the past five years. Indeed, the problem which might daunt any editor is that of how to reflect in one number the variety, without taking away from the richness and diversity. It is a tribute to the skill of Gilles Girard that the costume of Harlequin, the "mottled patchwork", as he calls it, shows to advantage for theatre critic and theatre-goer alike.

The issue consists of ten substantial articles, three 'documents' and four book reviews. The articles range over such topics as experimentation, mise en scène, dance-theatre, improvisation, new dramatists, 'commercial' (or successful?) theatre, theatre for the young, and, finally, the public. As might be expected, the approach is historical, generally thematic rather than theoretical, examining the artistic function as well as its originality. Three of the articles, the first two and the last, are abridged versions of broader studies in progress: Bernard Andrès's 'Notes sur l'expérimentation théâtrale au Québec'; Gilbert David's 'La mise en scène actuelle: mise en perspective', and Josette Féral's 'Pratiques culturelles au Québec: Le Théâtre et son public'. These, and others, contain copious notes, appendices, bibliographies, and photographs. The 'documentalists' are Marie Laberge and Jovette Marchessault, who write of their relationship to their creativity, and Jean-Pierre Ronfard, who faces the question 'Qu'est-ce que le théâtre?' It is an insoluble question, hence its fascination, for it will be asked as long as there is theatre.

It is appropriate that analysis of a theatre which is seeking renewal within itself and which is highly aware of its social context should begin with Andrès's report on experimentation. It is equally appropriate that this chapter be juxtaposed with David's tightly-worded text on the mise on scène, for the mise en scène is comparatively recent in achieving front rank importance in Québec. Each of the two articles fills in the background of its respective area; each proposes a formula suitable to the analysis. Bernard Andrès outlines 'le renouveau scénographique', followed by a 'discussion théorique sur les notions de théâtre alternatif ... ' and an 'évocation critique' with specific references. Gilbert David terms the types of production 'la représentation artisanale', 'la représentation métaphorique', 'la représentation conceptuelle', and reflects on his findings. Both critics readily acknowledge the existence, or even predominance, of negative elements which result in what they call 'two theatres'. Andrès notes 'un clivage ... entre Théâtre et Expérimentation', David descries 'le fossé ... entre deux théâtres, celui des cuisiniers et celui ... des visionnalres'. Yet - and this is a recurrent note throughout the issue - both, in differing degrees, express optimism and faith. Picking up Jean-Marie Piemme's terminology, David writes: 'Mais, dans l'obscurité d'une salle, devant une scène ouverte à mon regard, j'attendrai patiemment que notre théâtre recouvre tous les langages et tous les regards.'

The evolving role of dance/corporal expression as a form of stage language has not been neglected in this survey of current tendencies. In the third article, André Bourassa summarizes the French tradition in the development of dance, often subject to political considerations as much as to requirements of the genre. He stresses his main concerns: since the line separating classical ballet, ballet-jazz and mime from theatre proper is disappearing, where and why is there resistance? What are the origins in Québec of the liberation which has resulted?

The juxtaposition of Pierre Lavoie's chapter on improvisation with Jean-Cléo Godin's discussion of text in 'Deux dramaturges de l'avenir?' is again an effective method of presentation. Pierre Lavoie avoids theorising on the merits of improvisation. He focuses instead on what he calls 'petite histoire improvisée' (questionable, perhaps), and on the difficulties faced by practitioners of the form, the LNI in particular. Jean-Cléo Godin draws his examples almost exclusively from the work of Chaurette, with passing reference to René-Daniel Dubois. He makes a strong case for the vital role of 'sire le mot' in modern dress. Judging only by his chapter, the presence in the text of the dramatist distinguishes this kind of 'pièce de texte'. Meyerhold's pronouncement 'Au théâtre les paroles ne sont que des dessins sur le canevas des mouvements', is not for Godin. Yet he stresses the need for inventive scenography if this type of drama is to be successfully produced. In any event, his enthusiasm for the work of Chaurette and Dubois carries conviction. What a contrast this is to the present dearth in contemporary French stage writing! Pierre Marcabru's recent newspaper article on the past season in Paris entitled 'Auteur, où es-tu?' has no echo here.

In the sixth chapter, 'Jean-Pierre Ronfard: dérive organisée et conflit des cultures', Alonzo Le Blanc limits himself to a study of La Vie et mort du Roi Boiteux. It is an admirably clear and graceful one. It is interesting too to compare his exposition of Ronfard's work in the theatre with the latter's text at the end. Professor Le Blanc's interpretation is in complete agreement with Ronfard's.

Paul Lefebvre examines the characteristics of recent comic theatre and as well he advances possible reasons for its success in 'Surfaces comiques, zones incertaines'. He deals with the texts, not with the productions, but adds 'Quand ils sont disponibles. Si plusieurs ont été publiés, d'autres sont gardés comme s'il s'agissait de secrets d'État.' He notes that certain effects are achieved while the concept remains superficial, yet his careful analysis is always free from prejudice. Summing up the experience gained, he finds promise of more constructive theatrical mechanisms.

Hélène Beauchamp and Rodrigue Villeneuve add to their writings on, respectively, theatre for the young public and theatre photography. Hélène Beauchamp describes productions for specific age groups, authors and successes, achievements and problems in her chosen field. She adds the timely reminder that 'les tendances en théâtre pour jeunes publics ne sont jamais bien éloignées de celles du théâtre tout court.' Yves Dubé's striking photograph of a moment in the production of Rail is the focal point of Villeneuve's essay on 'langages concrets'. His approach and purpose are not those of Denis Bablet, nor need they be, for they too indicate a recent area of investigation.

The series of analyses concludes with Josette Féral's interpretation of statistics she has gathered on the relationship of the public to the interpretive arts. Part of her conclusion is not unexpected, but nonetheless chilling: 'L'augmentation du public au théâtre n'a pas pour corollaire le développement de la pratique théâtrale comme art.' Yet this conclusion is balanced by a commentary concerning the transformation of leisure activities, education, and improved business methods within the artistic community. It is open-ended and positive.

I have few reservations to make about this issue. My own leaning towards analysis of music and theatre is not satisfied, although Alonzo Le Blanc draws attention in passing to the place of music in La Vie et mort du Roi Boiteux. It is the rare chapter which does not mention parody, reflecting an inescapable element in Québec theatre, but this is not dealt with separately. Études littéraires has just brought out an issue devoted in its entirety to parody, but in quite a different context. Gilbert David points out the need for a comparative study of Québec stage custom with that abroad, with the work and influence of metteurs en scène such as Strehler, Brook, Mnouchkine, etc. The 'here and now' approach leaves little room for such questions requiring broader reference. But this is a deliberate, and I believe, justified option.

It is a pity to pass over the 'documents', but limits of space prevent more than a mention when they deserve careful examination. Marie Laberge's piece is one of the most revealing I have read on or by her. 'Integrity' shines through clearly. And with Jean-Pierre Ronfard we are prepared for 'une révolution pour la vie'!

'Tendances actuelles' is not aimed primarily at the regular following of Jeu. Yet I feel that critic, amateur and practitioner can enjoy and benefit from this issue. We have for a long time deplored the gap between those actively engaged in theatre production and the university theoreticians. This type of edition encourages both to take stock of what is and reflect on what may be. It does what is possible, at least at the present, to bridge that gap.